PC Gamer UK Interview: Emily Short

Emily Short [E.S.]:
It's a creative outlet, and one with both technical and artistic
aspects. By day I'm an academic, in a humanities discipline, which
means that I don't otherwise get a lot of cause to do programming;
I'm also supposed to refrain from writing fiction in my academic
papers. IF gives me an excuse to do both those things. And the
community of players and fellow-authors is great -- they're
enthusiastic and well-informed, and they tend to be articulate about
what they like and don't like and why.

R.C.: What do you hope to achieve with the IF Theory book that
is currently in production?

E.S.: Several things. It's a chance to bring encourage people to write
about the craft of IF in an organized way; there are scattered
articles around the web and so on, and there are manuals about how
to code IF, but there aren't (yet) any systematic pieces about the
problems of design. As the medium matures, we find more and more
techniques to solve certain kinds of problems -- how to enhance the
simulated environment, how to portray other characters
realistically, how to design an engaging puzzle. This provides a
place for people to explain the tools of the trade as they currently
exist and perhaps to indicate some directions for more exploration.

The book also takes a (somewhat briefer) look at the place of IF as
a medium, by presenting new articles on the history of IF
development and on how IF fits in with academic theory on
computer-based literature and new media.

R.C.:
Why do you think that interactive fiction has been able to continue
growing and evolving, producing such works as
Spider and Web,
Galatea
and the
like even as the rest of the gaming industry bemoans the lack of innovation
in its titles?

E.S.: There's an easy answer here, namely that we don't have to worry
about marketing. The downside of amateur game writing is that you
don't get paid, but the upside is that you can write whatever comes
into your mind to write; there's no one peering over your shoulder
saying, "No, that won't sell -- our research tells us that most
gamers want to play something in one of these three genres, and you
have to have this kind of interface and that kind of puzzle."

There's also another, subtler answer. The IF community is fairly
closeknit, with a core of active, productive members who work
together on projects, talk about things, play and critique each
other's games. I can't really speak to what it's like to be a
commercial game designer, but I can say that my work has been
greatly improved by the exchange of ideas within that community.
People in the IF community are very thoughtful critics, and many of
them are interested in discussing the ways in which the medium can
be pushed to do new and interesting things. So there's an
atmosphere in which experimentation is valued: even if you don't
come up with something smashingly popular and well-loved, people
will be receptive to exploration of new ideas. The worst thing
that can happen to a game in this world is for it not to be talked
about. If you write a game that people love, great; if you write
one that they don't love, but still discuss, that's a kind of
success too.

R.C.: Much of the IF world is split between Interactive
Fiction's narrative and conventional Text Adventuring's puzzles.
Which of the two sides, if either, would you say is the most
important?

E.S.: It really depends on what you're trying to do: I've seen really
entertaining games that turned on their puzzles, and other excellent
pieces that were pretty much all narrative. The success of a given
piece tends to depend largely on whether the author has some clear
vision of what he wants his piece to be like and how he wants the
player to experience it, I think.

R.C.: Summed up in a sentence -- why should a non-initiated
reader care about IF? (playing, as opposed to writing)

E.S.: IF can be extremely involving, both emotionally and intellectually:
the challenge of trying to solve the puzzles is addictive, and the
impact of the narrative is heightened by the fact that you're
participating in it.

Those of us who discuss IF a lot refer to this phenomenon as the
effect of complicity: a story that would affect you only slightly if
you were reading it on the printed page comes to have a much
stronger and more personal power if your own actions have somehow
contributed to bringing it about. (That's a second sentence, but
you can cut it if you like.)

R.C.: Part of the [magazine] feature talks about the creation of
IF games, with a very quick tutorial. What would be the most
important piece of advice that you would give to an aspiring IF
author?

E.S.: Listen to your beta-testers. Find people to play your game, read
their transcripts carefully, and PAY ATTENTION to everything they
do. They're not just there to find bugs; they also find the places
where your game is confusing, or badly clued, or where the pacing
doesn't work. A lot of the time responding to beta-tester feedback
just consists of adding one-line descriptions to things or
customizing trivial responses to actions, but that kind of polish
makes all the difference in the world to the players of your games.
It makes your game world feel solid and dependable and real, and not
like a stage set made of plywood.